Jason Bourne: A Franchise Running on Fumes

A tired, uninspired, and largely devoid of compelling action sequences, the fifth installment in the Jason Bourne saga feels like a shadow of its former self.

The film sees Jason Bourne (Matt Damon) living off the grid in Europe. Meanwhile, former CIA operative Nicky Parsons (Julia Stiles) hacks into the agency’s mainframe. She downloads classified files exposing both the “Treadstone” program that created Bourne and the groundbreaking “Iron Hand,” which grants the CIA control over social media. CIA Director Robert Dewey (Tommy Lee Jones) and cyber division head Heather Lee (Alicia Vikander) immediately launch a manhunt for Parsons, hoping she will lead them to Bourne. When she does, Bourne learns from the “Treadstone” files that his father was deeply involved in the project.

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Fun Fact: The Greek scenes were actually filmed in the Canary Islands due to difficulties securing filming permits in Greece.

The Bourne Identity: From Anti-Bond to Formula

In the early 2000s, directors Doug Liman and Paul Greengrass transformed Robert Ludlum’s character into a spy blockbuster icon, crafting an anti-Bond. Jason Bourne didn’t drink, flirt, joke, dress sharply, use sophisticated gadgets, serve the government, or fight terrorists. Instead, he battled rogue CIA operatives. In the face of a struggling Bond franchise, this new type of super-agent felt like a breath of fresh air. The Bourne films became incredibly popular. However, it was clear that a hero defined by so many “don’ts” would quickly run out of steam. A central character in a long-running hit series needs to be a vibrant, multifaceted personality, not a silent killing machine without fear or reproach.

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Alicia Vikander reportedly turned down the lead female role in the “Assassin’s Creed” film adaptation to star in “Jason Bourne.”

Universal Pictures seemed to recognize this, accepting Matt Damon’s refusal to star in the fourth film and releasing “The Bourne Legacy” with a new lead actor and character. However, Jeremy Renner’s portrayal of Aaron Cross didn’t resonate with audiences, leading the studio to bring back Damon and Greengrass for the fifth film.

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A Weary Return

If you know what a film made purely for a paycheck looks like, you’ll immediately recognize “Jason Bourne.” A sense of weariness and lack of inspiration permeates the entire production. Even the title, “Jason Bourne,” feels uninspired. While accurate, it perfectly encapsulates the essence of this $120 million production: Jason Bourne is indeed on screen, and he is indeed the main character. Want more? Sorry, the title only promises Bourne. For everything else, look elsewhere.

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Of course, we’re exaggerating, but only slightly. Instead of a new, exciting plot, “Jason Bourne” offers a weak rehash of past stories about Bourne’s conflict with high-ranking CIA officials. The detective intrigue is completely absent (if you’re familiar with spy movies, you’ll immediately guess where the film is going). Obvious script errors are too numerous to list, mainly because the film isn’t designed for thoughtful viewers. And since Bourne is a fundamentally limited character, there are no jokes, romantic scenes, or glamorous moments. “Jason Bourne” is a grim game of cat and mouse, in which Bourne travels from Athens to Las Vegas to settle scores with the CIA director.

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Action That Lacks Impact

This might not sound like the worst proposition, but Bourne is too skilled for his game with the CIA to feel tense. Ordinary agency thugs are easily dispatched, and the CIA doesn’t even attempt to send a full army against him. As a result, the tension in most of the film’s action scenes is akin to the early scene where Bourne, participating in underground fights, knocks out an opponent with a single blow. Matt Damon might as well be pushing through a group of preschoolers.

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The film’s energy only picks up when Vincent Cassel appears as an unnamed Special Agent, a ruthless CIA killer with a personal vendetta against Bourne. The Special Agent is the only one who can last more than a second against Bourne, but they only have one direct confrontation at the very end of the film. This is preceded by a fairly effective chase through the streets of Las Vegas, during which the Special Agent drives a police armored vehicle and demolishes everything in his path. Aside from these few minutes (the chase plus the fight), there’s not much to see, and you won’t miss much if you arrive at the theater towards the end of the showing. You could also note the chase through the streets of Athens at the beginning of the film, but it’s just an appetizer, not the main course.

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Also, keep in mind that Greengrass’s signature shaky cam and aggressive editing don’t do the fight scenes any favors. Half the time, you’ll be trying to figure out what just happened. Although “Jason Bourne” is clearer in this regard than the recent “Star Trek Beyond,” where the editing and filming simply buried several action episodes.

Final Verdict

If “Jason Bourne” were a compact, hour-and-a-half film, it might earn a passing grade for its energetic soundtrack, recognizable faces, and formal adherence to the requirements of a spy movie (dynamic action, frequent changes of scenery, a lone agent’s war against a powerful organization). But as a sprawling two-hour film with minimal action payoff and no humor, sex appeal, or intriguing plot, it doesn’t deserve a positive review.